Heidegger and the Poets: Poiesis/Sophia/Techne (Philosophy and Literary Theory)

Veronique Foti delves into the complete diversity of Heideggerian texts to intricate the problematics of historicity, language, and the constitution of disclosure or "manifestation" in reference to the Herman poets whom Heidegger invoked alongside his course of pondering. Foti’s analyzing of those ports (Morike, Trakl, Rilke, Holderlin, and Celan) is a probing inquiry into the cultured, moral, and political implications of Heidegger’s idea. She is familiar with how technicity (techne) and poetizing (poiesis) are adverse but introduced jointly in Heidegger’s hermeneutic phenomenology, how they're either politicized and associated with moral praxis, and the way technicity, poetizing, and praxis can't be dissevered from Heidegger’s crucial pondering.

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Why can he now not amalgamate this hymn with its speedy precursor, "Andenken," which opens up, for him, the total scope of Holderlin's poetic considered remembrance? what's the resistance which "Mnemosyne" deals to the interpretive strikes of Heidegger's "elucidations"; and what, if it may be pointed out, is its importance? II In sharp distinction to the just about contemporaneous hymn" Andenken," which acknowledges the poet as one that institutes "that which abides," "Mnemosyne," in its 3rd and ultimate model, speaks of the dying of Mnemosyne, or Remembrance, the mum of the Muses, and therefore of the failure of poetic commemoration. within the first strophe of the hymn (the strophe so much appreciably altered within the 3 versions), Holderlin speaks of the legislation of the allconsuming and all-transmuting heavenly fireplace into which all issues needs to input, "snake-like, / Prophetic, dreaming upon / The hills of heaven. " The determine of the snake calls to brain either the Pentecostal tongues of flame from heaven and the chthonic realm that Holderlin, in his "Remarks on Oedipus," calls "the eccentric sphere of the useless" (FA 16,251). The legislation of the fireplace which overtakes all issues (in a way reminiscent either one of the Heraclitean hearth and of Stoic ekpyrosis) appears to be like stuck in ambiguity: at the one hand, it's a "prophetic" legislation of transmutation, yet at the different, it threatens to move guy into what Holderlin calls, within the "Remarks on Antigone," "the ever-living, unwritten desolate tract" (FA sixteen, 413). In "Mnemosyne," the poet affirms that "much" has to be salvaged from the upcoming conflagration: ... Und vieles Wie auf Schultern eine final von Scheitern ist Zu behalten ... 24 68 I HEIDEGGER-HOLDERLIN Heidegger, in his essay "Das Gedicht," cites those verses to point the abyssal failure of flooring skilled by means of the poets, who announce "the remoteness of the god approaching" (GA four, 190). on account that he isolates the verses from their context, he pays,no awareness to the hearth imagery, nor but to the impossibility of saving a load of firewood (Scheitern) from the encircling flames. those flames threaten additionally to devour the one that consists of the burden, and to alter the articulated manifold (vieles) right into a unitary totality (eine, under pressure by way of the linebreak) via sheer destruction. the upcoming failure of the hassle to "preserve" or "remember" (a universal if figurative feel of behalten) is extra indicated through the truth that scheitern, heard as a verbal infinitive instead of because the declension of a noun, denotes failing and coming to grief. What one needs to stick with it one's shoulders turns into, then, a burden of failure. Holderlin, certainly, instantly adduces the hindrances which face up to and frustrate renovation and remembrance: in being drawn into conflagration, the "captive parts" cross wildly off course; and specially, "a longing" has a tendency ever towards "the boundless. " even though the injunction to maintain "much" is instantly reiterated and is strengthened through the emphatic assertion that faithfulness now's sheer necessity ("und Noth die Treue"), the strophe concludes with the admission (introduced via the 3rd reversing and qualifying "but") that "we" refuse to seem ahead and backward, who prefer as an alternative to enable ourselves be cradled in ahistoric immediacy as in a ship adrift at sea.

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